We can all agree that we still have a long way to go when it comes to gender equality, on stage and off. That’s not what I’d like to talk about. We’ve all had those conversations already, right? What I would like to talk about is: how are we going to pull together and do something about it?

How are we going to make theatre relevant to the greater political and social equality movement?

How are we going to bring together Trans* people and men and women who are working on these issues?

How are we going to leave behind the tired stereotype that women don’t help each other?

How are we going to create partnerships that make our work more effective and sustainable?

How can we stop trying to change the world alone?

GAP Salon (Gender and Performance) aims to connect, sustain, and inspire artists and advocates working for gender equality. We know there are thousands of organisations, theatre companies, and individuals trying to change the world.

How many of us are doing this work alone, at midnight, in our pajamas?

How many organisations wish they could do more but don’t have the resources or time or staff?

How many of us want to get involved but don’t know where to start?

So, how can we find our place in the movement?

How can we reach across barriers of gender, race, class, age and ability to create surprising, far-reaching, intersectional partnerships?

How can we change the world without burning out, without getting discouraged, without going mad in the echo chamber of our isolation?

I don’t have the answers. I am asking, how can we help each other? I hope you’ll join me.

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A discussion about how to create a genuinely safe and open atmosphere in improv classes from the first class someone takes.
How do we protect students from potentially harmful experiences which can arise from the rigidity or literal interpretation of 'Yes, and' ?

These are notes taken as Guy Hartnell shared about the Oogly Boogly project, where performers improvised with babies by copying their movements and sounds, while the babies' parents watched. It took place inside a large inflatable venue. The notes were taken by Catherine Ryan.

This was an experimental workshop combining the work of Frank Torino and Richard Coaten who met on the pavement on the way to Day 4. I discovered Frank had an interest in mental health and in improv work with theatre students in Denmark, mine was in how carers of people living with dementia might benefit from having access to improvisation and its role in maintaining their resilience, quality of life and relationship with their loved ones...meta theme - great link made between Franks' You Be Me'

Part of the Fringe Central Programme for Fringe participants. Artist, technician, venue staff or audience member – you’ll know the pains as well as the joys of the Fringe. This is your chance to help make the Fringe work better for the very people who give it reason. You. Bring your own questions and ideas – you set the agenda and nothing is censored. An open space – come for as much or as little as you want.

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